Analysis: The Thing- Humanity Theme.
The soundtrack to John Carpenters 'The Thing' composed by
Ennio Morricone utilises various compositional techniques to produce an
effective tense and mysterious ambience which accompanies many of the scenes
throughout the film. The theme is first heard when the characters initially
encounter the mysterious creature (The Thing) and is used to not only build
suspense and tension, but to also provide a mysterious ambience which arouses
the listeners curiosity.
This analysis will cover the first section of the piece
(Theme 1, 2 and 3) and its main thematic melody, showing various techniques and
structures utilised by the composer.
Introduction (Bars 1 to 11)
The key signature has 4 flats in it, A flat, B flat, D flat
and E flat, therefore the key is either A flat major or F minor. The piece has
a minor tonality therefore the key signature is F minor.
The time signature is a simple time signature 4/4. The time
signature is continuous throughout the piece with no changes occurring.
The tempo is written as Andante
Moderato meaning " between Andante ('walking pace' between 90 -
100bpm) and Moderato ('moderately' between 100 - 112bpm). Andante Moderato
usually falls under 90 bpm - 100bpm. Therefore if the music is played between
these tempos it will generally create the desired effect in which the composer
intended the music to be heard.
The composition utilises the mode of G Locrian throughout
its melodic phrases and long sustaining undertones. The introduction begins on
the note G and sustains into the note A flat. This creates the interval of a
minor second which produces immediate tension .
Figure
1. Violin Introduction. (Minor
Second Interval)
This tension is further strengthened by the fact that the
piece does not start on its tonic, which leaves the listener in a state of
anticipation whilst trying to determine the tonal centre of the piece. This
technique is produced because the tonic is not established as the first note of
the music, it does not relate to our normal understanding of diatonic harmony
until the tension is resolved to the key signature on the note F later in bar
12 where the second thematic idea occurs. The sustaining undertones performed
on the violin are based around the notes G and A flat with subtle variations
which embellish this progression. The Introduction is static and holds no tonal
centre around the main key of F throughout bars 1 to 11, therefore it can be
said that the first 11 bars of the piece are modal (their emphasis is on the
modal quality of G Locrian as opposed to the tonal quality of F minor). The
modal quality is emphasised by targeting the unique note (D flat) which
separates 'Locrian' from other modes such as its closest relation 'Phrygian'.
The flattened 5th note of the scale distinguishes the mode from other modes and
scales based around 'G' with the flattened 5th producing a diminished quality
throughout the progressions of the piece. This interval provides the music with
its unique mysterious quality and produces the highest possible tension due to
its nature (it has the highest amount of tension which wants to resolve to the
tonic) 'Modal' music is not as commonly recognised as 'Tonal' music and
therefore adds to the mysterious quality of the films setting.
Figure 2. Violin Progression (embellishment note of D flat establishes mode quality)
Introduction
(Melody).
The melody played over the
violin introduction is delegated to the Harp, which is not a commonly used
instrument and has an unusual and mysterious timbre which adds to the themes
intent. The melodic phrase is very simple yet effective at producing tension as
it utilises the interval of a minor second in a sequence pattern. The Phrase
begins on the root of the Locrian mode (in this case G), and moves to A flat in
a similar style to the sustained underlying progression of the violins (however
utilising shorter notation whilst establishing a simple rhythm pattern over the
static sound of the sustaining notes). The motif is then reinstated a perfect
4th higher from A flat ( C to D flat) which follows the minor second pattern
present throughout the introduction. This phrasing repeats several times before
ending the motif.
Figure 3. Harp Melody.
Bar '11' introduces Theme 1
to Theme 2 by utilising a short succession of notes that gradually build in
pitch. This increases the suspense and tension which is required to make Theme
2 more impactful as it utilises a more dynamic instrumentation which adds to
the feeling of distress and fear of the unknown.
Figure
4. Solo Violin (Linking Theme 1 to Theme 2)
Theme 2
Theme 2 further develops the motif implied by the
introduction, however it utilises the scale of 'F' Harmonic minor as opposed to
'G' Locrian due to the raised 6th ('E' flat becomes 'E' natural) this can be
identified from the composers use of accidentals throughout the progression of
the piece.
The E natural note is sustained throughout the second theme
by the violin section, this creates dissonance when layered against the notes
played on the Bass Tuba. This style produces a great amount of tension as it
still aligns with the minor second motif throughout the piece but uses it in
such a way that it provides maximum suspension and requirement for resolution.
Figure 5. Bass Tuba Progression.
The Double Bass Section Plays the notes F and E natural
throughout the progression over the top of the Bass Tuba and Violin section.
The inclusion of the Double Bass and Bass Tuba give the
piece a sense of impounding doom, the instrumentation adds a heavy texture to
the simple progressions implied giving them a deeper emotional impact.
Theme 2
(Melody)
The main melodic motif dictated by the harp in the
introduction is reinstated in the second theme, however it has been modified to
accompany the more complex harmonic structure presented by the composer. The
idea of moving in minor seconds up in pitch sequentially is still implied
however the amount of steps in which the melody rises has been increased and an
extra resolving section which descends has been applied to end the phrasing.
The Descending pattern has an emphasis on the diminished quality produced by
the backing instruments utilising the notes 'D' flat descending to 'G' which
creates a 'Diminished 5th' Interval (The interval which defined the mode used
within the introduction melody). This interval repeats twice on descent bridged
by the notes 'A' flat to 'C' which is an interval of a minor sixth. This allows
for a smoother transition down an octave in the sequence.
Figure
6. Harp Melody 2 (Ascending minor second intervals, Descending Diminished 5th
Intervals)
Theme 3
The third thematic idea has no melodic phrase rather a
continuation of the sustained notes found within the previous two sections of
the piece.
Theme 3 is introduced by the violin section playing a
sustained 'E natural' for 2 bars which blends into the other instrumentation
throughout the second bar. A solo violin, French Horn and Bass Tuba accompany
one another throughout the remainder of the theme.
Figure
7. Sustained Notes Played on French Horn and Bass Tuba.
The French Horn plays a minor sixth harmony (A flat and C)
alongside the Bass Tubas sustained octaves of 'C', the note E natural is once
again introduced by the French Horn which accompanies the octaves of 'D flat'
played on the Bass Tuba. This produces tension in a similar way to the previous
sections. The progression then moves to the tonic of 'F' which is played on the
French Horn alongside the sustained 'D flat' notes provided by the Bass Tuba.
This provides the phrase with a sense of resolution. The progression repeats with subtle variations
in chord voicing to produce a more sinister undertone.
There are two main progressions throughout Theme 3, the
second which expands upon the motif of the first progression summing up and
resolving the piece.
Figure
8. Second Progression (Establishment)
The second progression is broken up into two parts like the
first progression. It contains an establishing phrase and a resolving phrase.
However the second progression is not considered a new theme as it is a simple
alteration to the motifs implied by the first and is a direct continuation of
that idea. The progression utilises the
'E natural' note once again to establish tension and suspense throughout the
first section.
The second sections intent is to resolve the tension and
move back to the tonic note of 'F' ( F minor) and therefore has a subtle
variation compared to the first. The 'E natural' has been replaced with a 'G',
this gives a sense of resolution which leads into the tonic.
Figure
9. Second Progression (Resolution)
